Historical Ceramics and Sculptures

Artifacts including ancient ceramics and sculptures featuring intricate designs and significant historical context from various cultures and eras.

Egyptian Ceramic Bowl, c11th Century. Artist: Unknown

PIEZA DE CERAMICA IBERICA HALLADA EN EL YACIMIENTO DE ARCHENA (MURCIA). Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Excerpt (foot) with red shard, on the inside in sgraffito technology a bird in ocher on a green branch, on a beige stock, anonymous, 1200 - 1899 Italy earthenware Italy earthenware

Greek art. Spain. Catalonia. Black-figure pottery. Found in Empuries. 5th century BC. Detail quadriga. Archaeological Museum of Catalonia. Girona.

Egyptian Ceramic Bowl, c11th Century. Artist: Unknown

PLATO DECORADO CON MOTIVOS DERIVADOS DE LAS LOZAS DORADAS DE MANISES: GALLONES ,SOLFA Y FLORECILLAS - TERUEL - SIGLO XVI. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Decorative ceiling, 11th century, from Castillo Formós (Balaguer). Museum: Museu Comarcal La Noguera, Balaguer, Lérida, Cataluña, España.

Large ceramic glass with red female figures (end of 4th century BC). Etruscan pottery. Empuries, Girona.

Ceramic plate from La Gran Nicoya, Costa Rica. Dated 14th Century

Cup of a bird catcher, Ionic terracotta unearthed in Etruria, Italy. Greek Civilization, 6th Century BC.

Charger with portrait possibly late 17th century probably Spanish, Talavera or Puente del Arzobispo This tin-glazed charger features a man wearing a wig and what appears to be an elaborate hat or crown, surrounded by an abstract border of alternating thick and thin lines in cobalt blue. It was probably made in the late seventeenth century in Talavera or Puente del Arzobispo, two centers of pottery production in the Castile region of Spain.. Charger with portrait. probably Spanish, Talavera or Puente del Arzobispo. possibly late 17th century. Tin-glazed earthenware. Ceramics-Pottery

CUENCO CON CASTILLO ALMENADO CON PAJAROS Y DAMAS DANZANTES - PATERNA - SIGLO XIV. Location: MUSEO DE CERAMICA-CERAMICA VALENCIANA. Barcelona. SPAIN.

CUERNO DE CAZA CON RELIEVES ADAN Y EVA. Location: MUSEO DEL PUEBLO ESPAÑOL. MADRID. SPAIN.

Relief from the temple of Nebhepetre Mentuhotep II ca. 2051-2030 B.C. Middle Kingdom Inside an oval-shaped protective cartouche, which was used only for royal names, is the name Mentuhotep. This is one of the names of Nebhepetre Mentuhotep II, the pharaoh who re-unified Egypt at the beginning of the Middle Kingdom. The fragment is carved in raised relief.. Relief from the temple of Nebhepetre Mentuhotep II. ca. 2051-2030 B.C.. Limestone. Middle Kingdom. From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Temple of Mentuhotep II, Egypt Exploration Fund excavations, 1907. Dynasty 11

Celtiberian vessel, 4th-1st century BC, Cerro de San Miguel, Arnedo, Museum of Romanization, Calahorra, La Rioja, Spain, Europe.

CUERNO EGIPCIO CON DECORACION. Location: MUSEO DEL LOUVRE-EBORARIA. France.

Fragment from the neck of a terracotta amphora. Culture: Cypriot. Dimensions: 4 5/8 x 11 in. (11.8 x 28 cm). Date: ca. 850-750 B.C..Panel with two figures and the arms of a third; panel with one figureThe representation(s) here most probably illustrate a narrative subject. A key to the interpretation lies in the identity of the horizontal shafts held by the figures in both panels. The figure on the right appears to be holding a spear, and he wears a belted garment of diamond shapes alternately reserved and glazed. At the left end of the fragment are the arms of an individual who holds a cup. Susan Langdon has raised the possibility that this is a very early depiction of the blinding of Polyphemos by Odysseus. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a painted vessel for storing food, Carratiermes Necropolis, 1st century AD, Museum of the Archaeological Site of Tiermes, Soria, Castile and Leon, Spain.

TINAJA DE CERAMICA DECORADA (Nº INV. 1168), EN EL MUSEO DE SANTA CRUZ. MUDEJAR, ANDALUSI.

Terracotta relief from a lamp with Leda and the swan Roman Leda and the swan.. Terracotta relief from a lamp with Leda and the swan. Roman. Terracotta. Imperial. Terracottas

Etruscan vase (amphora), 525-490 B.C. Ny Carlsberg Glyptotek. Copenhagen. Denmark.

Footed Bowl with Hunting Scene. Colombia, Nariño Highlands or Ecuador, Carchi, Nariño or Carchi, 750-1250 CE. Ceramics. Resist-painted ceramic

Plaque fragment. Culture: Old Assyrian Trading Colony. Dimensions: 3.12 in. (7.92 cm). Date: ca. 18th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Viterbo Viterbo Museo Civico24. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Column Base, c. 960-76. Spain, Cordoba, Spanish Umayyad period (756-1031). Marble; overall: 15 x 20.5 x 20.5 cm (5 7/8 x 8 1/16 x 8 1/16 in.). This base comes from the palatial city of Madinat al-Zahra near Cordoba (Spain) which was begun by caliph Abd al-Rahman III (r. 912-61) around 936. Large parts of the Iberian Peninsula were then under Islamic rule and experienced a cultural flowering. The city, destroyed already in 1010, was the most magnificent palace complex in Europe at the time.

Vessel with Seated Lord 7th-8th century Maya One of the largest Maya vessels in the Museum, this cup contains an elaborate scene with accompanying text, which reads "yuk'ib baje wa-KAAN TOOK' bakab," or "the drinking cup of Baje() Kaan (or Chan) Took', the ruler." The size of the vessel is significant. Other scenes in Maya art that such larger cylinder vessels were placed on the ground as a receptacle for a concoction made of cacao (the plant from which chocolate is derived) poured from a smaller vessel above; the pouring action created the desired froth of the chocolate drink. Presumably, revelers would dip their own cup into the larger vessel to share in the chocolaty celebration.The text on the Met's chocolate vessel is one of the simplest name tags on a Maya vessel, formed by just a possessed noun and an individual's name, with the implied intransitive "it is." It is possible that the ruler Kaan Took' is seated immediately to the right of the text, his elbow actually overlapping t

Bowl with Cheetah 11th-13th century Byzantine Her dowry includedTwelve well-proven hunting leopards,Twelve snowy hawks from Abasgia in present-day Georgia,Twelve falconers, and the same number of falcons— From Digenis Akritis, an epic poem about a Byzantine-Arab border lord, oral poetry written down about 1000 or laterPredatory cats and birds may have been intended to evoke the hunt, a popular pastime for members of the imperial court and ruling classes and regarded as good practice for military action. Treatises and copies of ancient texts on hunting dating to the eleventh and twelfth centuries suggest a renewed interest in the sport. The emperor John II Komnenos perished in a hunting accident in 1143.. Bowl with Cheetah. Byzantine. 11th-13th century. Engraved slipware. Ceramics

PILA BAUTISMAL PROCEDENTE DE LA IGLESIA DE SAN SALVADOR (TOLEDO), EN EL MUSEO DE SANTA CRUZ.

Jules Desbois (1851-1935). Flat. Money. Museum of Fine Arts of the City of Paris, Petit Palais. 79583-9 Money, woman, breast, shirtless, dishes, naked, dish

House Model A.D. 100-300 Nayarit Nayarit house models are, on one level, snapshots of village life, easily read as renderings of the everyday. Highly narrative, they depict lively gatherings in plazas and houses, including feasts, dances, and the ballgame, complete with spectators gesturing and placing bets. Perhaps more than any other tradition in ancient Mesoamerica, Nayarit models give the viewer a clear idea of building types and features that do not appear in the archaeological record. This model and another in the museums collection (see MMA 2015.306), for example, show the complex geometric designs of the sloping, peaked thatched roofs that cover rooms and porticoes. These models also provide a privileged view of the activities that occurred inside such structures, as these masterful constructions are populated with numerous figures engaged in a vast array of tasks and pleasures. Formed individually and then lightly fired into place, the figures gesture in ways that suggest var

Capital with Acanthus Leaves 6th century In the 500s Apa (Father) Jeremias founded a Coptic monastery at Saqqara, the ancient Egyptian necropolis (cemetery) of the city of Memphis, near the oldest pyramids. He and the earliest monks lived in tombs at the site. As the monastery grew, several grand churches with lavish decoration were built, as well as many chapels, public buildings, and complexes of cells (rooms) for each monk. The monastery continued to grow after the Arab conquest with materials from early Byzantine tomb structures being reused for additional monastic structures. Inscriptions record prayers to numerous holy figures. Sculptural elements from Saqqara are often carved with deeply undercut patterns to intensify the play of light and shadow and to mask the solidity of the architecture. This sculptural style was popular throughout the Byzantine world in the 500s. View more. Capital with Acanthus Leaves. 6th century. Limestone; carved in relief. Found Egypt, Saqqara. Sculptu

Maya painted jar: man in jaguar-skin litter from Guatemala. Artist: Unknown.

Mexico, Puebla, Cholula, Cholula site museum Ceramic plate from the Cholulteca 3rd Phase A.D. 1325-1500.

Limestone finial of a funerary stele with volutes and the head of Hathor second or third quarter of the 6th century B.C. Cypriot Tombstone with Hathor head, sacred tree and lotus flowers.. Limestone finial of a funerary stele with volutes and the head of Hathor 242046

Capitel andalusí de época emiral. Anónimo. Románico. Finales del siglo IX-principios del siglo X. Decoración vegetal. Mármol. Procedente de Córdoba, Andalucía. Museo Nacional de Arte de Cataluña (MNAC). Barcelona. Cataluña. España.

Cloisonné furniture plaque with a figure holding a sword. Culture: Assyrian. Dimensions: 1.38 x 1.65 x 0.2 in. (3.51 x 4.19 x 0.51 cm). Date: ca. 9th-8th century B.C..A clean-shaven figure with long locks of hair, identifiable as male because of the bare chest, holds the grip of a long sword in his upraised right hand and thrusts it diagonally across his body in this fragmentary plaque. While this piece is broken at the figure's chest, the tip of a curling tail at the upper left corner suggests that he was originally depicted slaying an animal, perhaps a fantastic hybrid creature such as a griffin, in a composition similar to another ivory plaque found at Nimrud also in the Metropolitan Museum's collection (MMA 61.197.11). The hair and eyes of the figure are cut into cloisons, walled cells meant to hold inlays of colored glass or semiprecious stones, although none of the inlays have survived. The slender proportions, expressed by his individually delineated fingers and elongated facial

Decorated vase with figurative scene. Painted ceramic. Maya culture. Late Classic Period (600-900 AD). Mesoamerica. Mayan region. Museum of the Americas. Madrid, Spain.

Elephant with Riders. India, Uttar Pradesh, Mathura, 3rd-2nd century B.C.. Sculpture. Terracotta

Bottom fragment of majolica dish with polychrome decor, Maria with child, dish crockery holder fragment earthenware pottery earthenware glaze tin glaze lead glaze w 10.7, ring 9.8 hand turned fried glazed painted fried Fragment of majolica dish. Polychrome decor in orange green blue and brown Mary with child Jesus on the arm both wearing halo and being surrounded by larger halo. Yellow-orange shard mixed ceramics. Wear at the archaeological stand Rotterdam Coolhaven indigenous pottery decorate serve devotion religion bible Jesus Christ Maria madonna archaeological find in the soil Rotterdam found at the construction of the Coolhaven 1922.

Monumental amphora (storage jar) decorated with a network of meander and other patterns, and three friezes of human and animal figures. Geometric, made in Athens 735-720 BC; attributed to the Anavysos Painter. The main figure scene encircling the wildest part of the vase shows men and horse-drawn chariots advancing into battle.

Lekythos. Artist: Pan Painter, Greek, Attic, ca. 475-450 B.C.

Scrimshaw (USA); whale tooth, india ink; Overall (vertical): 17.5 x 7.5 x 5.5 cm (6 7/8 x 2 15/16 x 2 3/16 in.)

Fragmented marble relief with decoration. Dated 1 AD.

GUERRERO A CABALLO - PLATO CERAMICA VERDE DE PATERNA - SIGLO XIV/XV. Location: MUSEO DE CERAMICA GONZALEZ MARTI. Valencia. SPAIN.

Ceramic artifact in shape of man fishing, Peru, Moche culture

JARRON DE LAS GACELAS - SIGLO XIV/XV - PERIODO NAZARI. Location: ALHAMBRA-MUSEO-CERAMICA. GRANADA. SPAIN.

Terracotta Krater (Large vase), Greek, 725BC Depicts a funeral scene

Plaque of St. John 12th century Byzantine. Plaque of St. John 464585 Byzantine, Plaque of St. John, 12th century, Cloisonn enamel, silver gilt, Overall: 4 5/16 x 1 9/16 x 3/16 in. (10.9 x 3.9 x 0.4 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.713)

relief in a black clay vessel, early classical, museum of the central square, Chichicastenango, municipality of the department of El Quiché, Guatemala, Central America.

Terracotta kylix (drinking cup) 510-500 B.C. Greek, Attic Interior, young warrior with shield and spear. Terracotta kylix (drinking cup). Greek, Attic. 510-500 B.C.. Terracotta; red-figure. Archaic. Vases

Brick fragment with the head of an ibex Assyrian ca. 9th century BCE As well as reliefs in stone, Assyrian palaces and temples were extensively decorated with painted and glazed brick. Where ceramic decoration has survived, it frequently preserves ancient color, hardly any of which is extant on the stone reliefs or ivory furniture fittings.Brick fragments often show abstract geometric patterns or ornament based on floral elements, but there were also figurative scenes. This fragment preserves the head of a goat, whose curved horns can still be seen. The ridges of the horns are shown using black chevrons, and such rapidly alternating patterns in black and white or other contrasting colors are a common feature of Assyrian art. The treatment of areas such as the eye gives clues as to how similar features in other media might originally have been colored.Goats and ibexes are common in Assyrian art, sometimes shown leaping among mountains. Some of the closest comparators to this example are

Aztec stone sculpture of the God Quetzalcoatl. Mesoamerican deity whose name comes from the Nahuatl language and has the meaning of 'feathered serpent' 15th-16th Century Mexican

Plate. Culture: American. Dimensions: Diam. 11 5/8 in. (29.5 cm). Maker: Attributed to David Spinner (1758-1811). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Plaque with Figures, 900-1470. Peru, North Coast, Chimú style (900-1470). Hammered gold alloy; overall: 10.7 x 12.3 cm (4 3/16 x 4 13/16 in.).

Vase, Auguste Jean, c. 1880 Vase of smoke -colored glass with a flattened spherical body, standing on four folded into folds, pointed legs. Irregularly pinched into folds, overhead top edge. Polychrome email painting, gilded. On the front, in a rectangular frame surrounded by flower branches with Chinese roses and cherry blossom, a portrait of a Japanese woman with a fan in her right hand. On the downside, on a surface of grass and reeds, flowering irises and flower vines. On the shoulders a painting in Eastern style of leaf vines and volutes. The legs and the edge are partly gilded and slightly iride. Paris glass. gilding (material) Vase of smoke -colored glass with a flattened spherical body, standing on four folded into folds, pointed legs. Irregularly pinched into folds, overhead top edge. Polychrome email painting, gilded. On the front, in a rectangular frame surrounded by flower branches with Chinese roses and cherry blossom, a portrait of a Japanese woman with a fan in her right

Pectorals from a tomb in Egypt, of the 20th Dynasty. Dated 13th Century BC

Epa (carved panel for a storehouse) Mori artist 18th century Formerly integrated into a chiefly ptaka (storehouse), this upright Mori carved panel for a storehouse foregrounds the vitality of the community through the intertwining of male and female form during sexual union, which is common for the genre. This rare Mori carving is of superlative quality and features iconography that relates closely to procreation, abundance, and fertility. Bold and innovative, the sculptor has masterfully carved this piece to create a visual rhythm of sinuous, fluid movement. The limbs are alive, dynamic and alert. The hands of the male figure reach up and under the mouth to grip onto the bottom lip and the female hand reaches up under her leg to grip onto her thigh. The carver exhibits extraordinary virtuosity in portraying the dynamism of the pair: heads tilt to one side, nostrils flare, the figures eyes fix on the viewer in an actively defiant gesture with tongue protruding (pkana)a direct challenge

Lead figure of a woman. Culture: Greek, Laconian. Dimensions: Height: 1 15/16 in. (4.9 cm). Date: mid-7th-early 6th century B.C..Small flat votive figurines of cast lead have been found in great quantities at the ancient sanctuaries of Laconia; over one hundred thousand, dating from the seventh century B.C. to the Classical period, were dedicated to the goddess Artemis Orthia in Sparta. Museum: Metropolitan Museum of Art, New York, USA.

Athena drives Chariot with Herakles, c6th century BC.

Capital with Dragons, 1200s. Southwest France, Languedoc, Toulouse (), 13th century. Limestone; overall: 33.4 x 35.6 x 28.6 cm (13 1/8 x 14 x 11 1/4 in.). Monstrous images were prevalent in the decoration of religious buildings during the Middle Ages. Such images must have impressed, perhaps even terrified, the monks and visitors who spent much of their time within the cloister or church, a place of prayer, contemplation, and reflection. Scholars have speculated how such images would have been received by the people given the ubiquity of monsters in medieval society. The carved monsters, often symbolizing vice and retribution for sin, were possibly designed to provoke a range of emotional responses including laughter, wonder, surprise, fear, and shock. This striking imagery must have had a strong impact, which in turn led Saint Bernard of Clairvaux (1090-1153), the spiritual head of the Cistercian order, to admonish their use as distracting from prayer.

Puteal de la Moncloa. Brocal de pozo en mármol, elemento decorativo de una casa romana. Los relieves representan el nacimiento de Atenea. Siglo I d.C. Altura: 99,5 cm. Diámetro: 84 cm. Museum: MUSEO ARQUEOLOGICO, MADRID, SPAIN.

Assyrian lion head statue. Made of stone, from Nimrud. Circa 883-859 BC.

Monumental amphora (storage jar) decorated with a network of meander and other patterns, and three friezes of human and animal figures. Geometric, made in Athens 735-720 BC; attributed to the Anavysos Painter. The main figure scene encircling the wildest part of the vase shows men and horse-drawn chariots advancing into battle.

Plaque fragment ca. 8th-7th century B.C. Assyrian This small broken piece of ivory was originally part of a plaque. Carved ivory plaques were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid with gold foil or inlaid with colored glass or stone pieces to create a dazzling effect of gleaming surfaces and bright colors. This fragment is made up of thin-walled carved cells, called cloisons, that were filled with colored inlays, although no traces of them remain here. When the royal buildings at Nimrud were sacked during the fall of Assyria in 614 and 612 B.C., looters stripped the gold inlay from the ivory furniture and left the broken pieces behind. This piece was probably part of a flower, which formed the background of many ornately carved inlaid ivories.Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousand

Lazio Viterbo Viterbo Museo Civico66. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Siren in amber (view 1), ancient Rome, 6th century BC .. Museum of Fine Arts in the city of Paris, Petit Palais. 79210-14 Amber, archeology, sculpt object, ancient Rome, sirene, life century before J.C

Greek Art. Greece. Attic Lekythos red-figure. First half of V century BC Corinth Museum. Province of Korinthia. Region of the Peloponnese. Greece.

Bottle vase with birds 1899 R. W. Martin and Brothers British Determined that pottery vessels should be regarded as true works of art, avant-garde ceramicists in France in the last decades of the nineteenth century transformed their craft into an intellectual and emotional endeavor. The pioneers of this revival were Jean Carriès, Ernest Chaplet, Théodore Deck, and Auguste Delaherche. These revolutionary artist-potters embraced artisanal traditions while pursuing lost techniques through exhaustive experimentation. Reacting to what they viewed as an excessive and improper use of ornament, they celebrated the simplicity and sincerity of their medium, following the tenets of the Art Nouveau style taking place in Europe. Based on the principles of the British Arts and Crafts movement, Art Nouveau artists sought to reform the decorative arts by emphasizing uniqueness and a return to craftsmanship. Artist-potters found inspiration in Asian ceramics, particularly Japanese stoneware (a hard, de

fossil ammonite sliced and polished from morocco

Plaque with Jousting Knights 15th century French. Plaque with Jousting Knights 34156

PLATO CALIFAL S X-DECORADO EN MARRON Y VERDE. Location: MEDINA AZAHARA / MADINAT AL-ZAHRA-MUSEO-CERAMICA, PROVINCIA, CORDOBA, SPAIN.

Campania Salerno Padula Museo Archeologico della Lucania Occidentale1. Hutzel, Max 1960-1990 Antiquities: There are views of Ardean artifacts, including artefixes. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Magna Graecia. Red figured epikysis decorated with a woman holding a votive pie. 4th century BC. From Taranto, Italy. Parfum Museum. Barcelona. Catalonia. Spain.

Kalpis with an image of the poet Sappho. Sappho Painter, painter

Makara depicted in a detail from a fountain. 14th century to 16th century sculpture from Java in Indonesia. Makara is a sea-creature in Hindu mythology. It is generally depicted as half animal and in hind part as aquatic creature. Sometimes, even a peacock tail is depicted. Makara is the vahana (vehicle) of the Ganga - the goddess of river Ganges

Plaque Fragment. Inner Mongolia, 3rd century A.D.. Sculpture. Bronze, cast

Attic Red-Figure Dimidiated Rhyton; Athens, Greece; about 450 - 425 B.C; Terracotta; 18.4 cm (7 1,4 in.)

Greek art. Greece. Terracotta neck amphora. 7th century BC. Proto-Attic Period. It represents Herakles grabbing the hair of the centaur Nessus. Behind Herakles, a four-horse chariot and a driver. It comes from Attica. Metropolitan Museum of Art. New York. United States.

Pot with dragons 1894 R. W. Martin and Brothers British Determined that pottery vessels should be regarded as true works of art, avant-garde ceramicists in France in the last decades of the nineteenth century transformed their craft into an intellectual and emotional endeavor. The pioneers of this revival were Jean Carriès, Ernest Chaplet, Théodore Deck, and Auguste Delaherche. These revolutionary artist-potters embraced artisanal traditions while pursuing lost techniques through exhaustive experimentation. Reacting to what they viewed as an excessive and improper use of ornament, they celebrated the simplicity and sincerity of their medium, following the tenets of the Art Nouveau style taking place in Europe. Based on the principles of the British Arts and Crafts movement, Art Nouveau artists sought to reform the decorative arts by emphasizing uniqueness and a return to craftsmanship. Artist-potters found inspiration in Asian ceramics, particularly Japanese stoneware (a hard, dense ty

Lazio Viterbo Viterbo Museo Civico05. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Terracotta Krater (Large vase), Greek, 725BC Depicts a funeral scene

PLATO CATALAN DE LA SEÑORA COSCHORINA REALIZADO EN LOZA DORADA - 1613. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Scarab Inscribed with the Name Maatkare (Hatshepsut) ca. 1479-1458 B.C. New Kingdom During the 1926-1927 excavation season, the Museum's Egyptian Expedition uncovered three foundation deposits along the eastern enclosure wall of Hatshepsut's funerary temple at Deir el-Bahri in Western Thebes. Among the contents were 299 scarabs and stamp-seals. Sixty-five of these are now in the Egyptian Museum, Cairo, and the rest were acquired by the Museum in the division of finds.Among the inscriptions on the bases of these scarabs and seals are examples of every title Hatshepsut held, from the time she was "king's daughter" during the reign of her father, Thutmose I; through the time she was queen of her half-brother, Thutmose II; and during her regency and co-reign with her nephew/step-son, Thutmose III.After the death of her husband, Hatshepsut became regent for her nephew who was a small child. The length of this regency period is uncertain, with estimates ranging from two to seven years. At so

PLATO ATRIBUIDO A VILLAFELICHE (ZARAGOZA) CON TEMAS MORISCOS ARCAIZANTES - SIGLO XVIII. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Cow plaque ca. 1479-1458 B.C. New Kingdom This metal plaque depicts a cow with a sundisk between its horns, which is a common representation of the goddess Hathor. From the cow's neck hangs a lotos flower. The piece was excavated at Deir el-Bahari, close to a shrine for this goddess. Most likely the plaque had been deposited at this shrine, as a donation to the deity. Two holes at the top were probably used for stringing it together with a series of similar small pieces.. Cow plaque 549406

FRAGMENTO DE ATAIFOR CON JINETE. Nº INV. MA/VM/13. (DIAMETRO BASE 16 CM. ANCHO MAXIMO 17 CM) MUSULMAN. (EXPOSICION :ARTE ISLAMICO ESPAÑOL)(DEPOSITO: MUSEO DE MADINAT AL-ZAHRA ).

White-ground drinking cup (kylix) potted in Euphronios' workshop. Aphrodite, the goddess of Love, flies through the skies on her goose. The cup was found together with three red-figured vases, two deep cups (skyphoi) and an oil-jar (Lakythos). Made in Athens about 460BC and attributed to the Pistoxenos Painter

Stove Tile with Saint George and the Dragon. Austrian or south German. Date: 1475-1500. Dimensions: 53.3 × 27.9 × 8.3 cm (21 × 11 × 3 1/4 in.). Lead-glazed earthenware with colored glazes. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Oecillum with figures of dolphins. Roman art. Jewelry. SPAIN. CATALONIA. BARCELONA. Barcelona. Archaeology Museum of Catalonia.

Glass flask showing gladiators fighting. Found at the Dakhla Oasis, Egypt. circa 350 AD. Roman-Egyptian

Glass 'Petroglyph Urn with Horn' Sculpture in the new de Young Museum, built by the Pritzker price winning architects Herzog and de Meuron - San Francisco, California

Samuel Philpot, Ship Figurehead, c 1939 Ship Figurehead

Stove Tile with Saint George and the Dragon 1475-1500 Germany. Lead-glazed earthenware with colored glazes .

Athena Parthenos

Plaque. Southern Siberia, 5th-3rd century B.C.. Sculpture; plaques. Silvered bronze, cast

Ibex. Bridle Plaque, Ancient Altaian, Pazyryk Burial Mounds

Royal Abbey of Fontevraud. Carved capital.. Fontevraud. France.

Amulet of the God Shu. Egyptian. Date: 1186 BC-1069 BC. Dimensions: 2.1 × 1.1 × 0.3 cm (13/16 × 7/16 × 1/8 in). Faience. Origin: Egypt. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Egyptian.

Bronze Situla with incised decoration showing warriors, Etruscan, Bologna, c6th century BC. Artist: Unknown.

Belt Plaque with Mythological Creature. Culture: North China. Dimensions: H. 5 in. (12.7 cm); W. 2 in. (5.1 cm). Date: 3rd century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Greek Art. Archaic period. Greek pithos decorated with the great nature goddess flanked by lions and birds. It comes from Thebes (Boeotia) and is dated between 680-670 B.C. Oriental style. National Archaeological Museum. Athens. Greece.

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